http://www.youtube.com/watch?v=liinxSNHfeo

MT

Professionals in the diamond industry hear warnings about
"commoditization" at our trade conventions. We hear the warnings from
traditionalists, from sellers and suppliers, from revered industry
leaders. We hear the warnings from some of the most esteemed icons of
our industry. But what does it mean?

It is about the reduction of an emotional experience to a mere set of
numbers. That is the concern.

For many years diamond cutters were considered craftsmen and artists,
like blacksmiths and carpenters (the best still are). As technology
has moved forward, blacksmiths and carpenters have been replaced with
automated manufacture. In diamond-cutting, auto-dialits and assembly
line production have replaced the gray-haired cutter of old who took
the rough through every step from blocking to brillianteering.
However, the unalterable difference between 'smithing and diamond
fashioning is that producing a diamond will never be like stamping out
automobiles or pre-fabricated woodwork where pieces and parts are
interchangeable. Our craft is unique.

On May 12, 1:10 pm, Andrew Schulman panix.com> wrote:

No, not a difficult concept. The execution of the concept, however, is
quite another matter - at least for many cg dabblers like me.

I am in the midst of putting a set of Aquila Alchemia normal tension
strings on my Troubadour, a guitar I purchased from fellow list member
David Kilpatrick a year or two ago. The guitar is a bit of hybrid,
somewhere between a classical guitar and a flamenco guitar, at least in
my opinion.

All I can say is - wow! The sound improvement with these strings, at
least the three trebles I currently have on there, has to be heard to be
believed. They're more expensive than many of the available
alternatives, and they seem to behave differently as well, e.g., when
tuning them up to pitch, they felt pretty normal under I started getting
with 1/2 an octave or so, at which point they just stretched and
stretched and stretched - much more than with any other classsical
guitar strings. It seemed as though I could turn and turn the tuning
peg and almost nothing would happen. Once up to pitch, they're behaving
more or less normally, which is to say the rate at which they stretch
has slowed considerably after about half an hour or so.

Anyone else use these strings and care to comment, either about using
them on different guitars and/or about how these strings are different
(or not) than others?

All praise is for Allah Lord of the worlds. May Peace and blessings be
upon His trustworthy Prophet.

Dear Brothers, This topic has demanded time from me which is not
sufficient to cover it, and I hope you will be able to read it and
benefit from it as I intended for it to help the masses in
understanding this issue. Allah is the best compensator and from him
we seek reward.

· Reality

The reality is that the woman has suffered a great deal. She has been
victimized in every society, and she has grieved in every era.
Humanity has never witnessed such deprivation, sorrow, and oppression.
In other words, no one has endured more than the woman.

· History of Disgrace

From the annals of disgrace that humanity has seen is a woman being
treated like she was not even human.

The Greeks said regarding a woman: She is like a poisonous tree and
she is evil from the Satan. She may be sold like any merchandise.

The Romans said: She does not have a soul. They would torture women by
pouring boiling oil on them, or dragging them using horses.

Dear friends please tell us which of these three guitars sounds the
best. It looks like they were all recorded at the Naxos studio, so
they should all have the same recording quality. My guess is Dylla is
playing a double top. Petrit a traditional, and Jouve is playing a
Smallman.

Marcin Dylla
http://www.youtube.com/watch?v=8zOFrb7MYek

Petrit Ceku
http://www.youtube.com/watch?v=L7EJbEws9yM

Jeremy Jouve
http://www.youtube.com/watch?v=83vBKKG05c4

MT